Post-Apocalyptic Anti-Social Nihilism

Product Notes

Long story short, once upon a time there was a thing called Black Metal. A group of Nordic bands took influence from raw, hate-filled 80s extreme metal and invented a form of underground metal that was at once cacophonously brutal and soothingly beautiful. Black Metal in those days was organic and unproduced. These bands had a one-to-one balance between beefy metal riffs and entrancing noise experiments. But after the first stock of bands, 'Black Metal' became less and less autonomous. New 'Black Metal' bands broke the balance and started playing pristine, overproduced poppy records full of stock, everyday ambience and ultra-typical death metal riffs. My black metal music seeks to balance the scales again. My black metal music is what it would sound like if 'black metal' had gone in the opposite direction and started incorporating more and more raw noise instead of smoothly-produced death metal attributes. I still hate those cookie-cutter bios everybody seems to use. 'We're ever so wonderful. All your favorite bands put together? That's us, except we're better. Everybody loves us, we are skilled and talented.' What ever happened to artists who were honest? Solo artists are talking in third person and in plurals so that they sound like professionals, but it's disingenuous and dreadfully devoid of intrigue. To me it's as if these formerly-independent artists get a chance to make a buck on CDBaby and all of a sudden they want to sound exactly like everybody else. Why are you trying to emulate the business end of the corporate music establishment? There's a difference between making uncommercial music for a reason, and being an unsigned artist who makes corporate music. What happened to unsigned artists who had something more to offer than just pop-minded songs that've been rejected by the major labels? I've been told that this album is too brutal for drugs, but I don't think that's true if you're a heavy tripper. I like to listen to this album with earphones while staring at the white fuzz on scrambled TV channels. It gives really great visuals. And it really tickles the brain, induces insanity, at least in me. It's not the kind of album you'd probably put on for your friends at a party... unless your friends enjoy staring into space and transversing parallel dimensions. The main influences for this are Burzum and an obscure noise artist named Zharth. Some secondary influences would be Darkthrone and Nokturnal Mortum. I pretty much wanted to combine my utter hatred for society with my taste for altered states of consciousness. In average bombast, this album's sound could be described as a vague haze of fierce crushing simmering discordian black metal exploding into or boiling over into volcanoes of subtle brain-shaking noise, leading reluctantly into gloriously fist-pound-prone dark sludge metal riffs and ambient shoegaze, then repeating in various patterns of absolute hatred for all society's conventions. I don't believe in love or friends and spend my time in a white noise fog behind a closed door. To be perfectly honest, some sort of 'altered state-of-mind' may be necessary to see what makes this album so damn satisfying for me. I listen to it daily. A word on 'Reversing the Third Wave' 'Reversing the Third Wave' is a song I did because I felt that black metal had really lost it's way after the second wave. Bands like Burzum and Darkthrone had such a raw rebelliousness, a nihilistic abandon, and an inclination towards ambient sound experiment. Black metal bands today are too cut and dry, playing big beefy, chorusey symphonic or smooth ambient 'black metal' sounding as if they think black metal is a subgenre of death metaL. It's good music but black metal wasted it's potential by becoming so standardized, safe, and normal in the metal tradition. Black metal started out as a defiance against the stale empty-headedness of death metal, and today they go hand in hand like the crisp riffing of Dimmu Borgir. Don't get me wrong, I like death metal and modern black metal, but read any of Euronymous's diatribes against death metal and you'll see how far down black metal has drifted from it's unique roots into normalcy and mundaneity. I made this album to show that black metal can still bring back innovative noise and raw discord. I made this song in particular to remind people of the punkish aggression and misanthropy of Hellhammer. If you're looking for something closer to the earlier Keith Cohen sound, look forward to my upcoming album recorded by Steve Albini. It should be available any day now.

Long story short, once upon a time there was a thing called Black Metal. A group of Nordic bands took influence from raw, hate-filled 80s extreme metal and invented a form of underground metal that was at once cacophonously brutal and soothingly beautiful. Black Metal in those days was organic and unproduced. These bands had a one-to-one balance between beefy metal riffs and entrancing noise experiments. But after the first stock of bands, 'Black Metal' became less and less autonomous. New 'Black Metal' bands broke the balance and started playing pristine, overproduced poppy records full of stock, everyday ambience and ultra-typical death metal riffs. My black metal music seeks to balance the scales again. My black metal music is what it would sound like if 'black metal' had gone in the opposite direction and started incorporating more and more raw noise instead of smoothly-produced death metal attributes. I still hate those cookie-cutter bios everybody seems to use. 'We're ever so wonderful. All your favorite bands put together? That's us, except we're better. Everybody loves us, we are skilled and talented.' What ever happened to artists who were honest? Solo artists are talking in third person and in plurals so that they sound like professionals, but it's disingenuous and dreadfully devoid of intrigue. To me it's as if these formerly-independent artists get a chance to make a buck on CDBaby and all of a sudden they want to sound exactly like everybody else. Why are you trying to emulate the business end of the corporate music establishment? There's a difference between making uncommercial music for a reason, and being an unsigned artist who makes corporate music. What happened to unsigned artists who had something more to offer than just pop-minded songs that've been rejected by the major labels? I've been told that this album is too brutal for drugs, but I don't think that's true if you're a heavy tripper. I like to listen to this album with earphones while staring at the white fuzz on scrambled TV channels. It gives really great visuals. And it really tickles the brain, induces insanity, at least in me. It's not the kind of album you'd probably put on for your friends at a party... unless your friends enjoy staring into space and transversing parallel dimensions. The main influences for this are Burzum and an obscure noise artist named Zharth. Some secondary influences would be Darkthrone and Nokturnal Mortum. I pretty much wanted to combine my utter hatred for society with my taste for altered states of consciousness. In average bombast, this album's sound could be described as a vague haze of fierce crushing simmering discordian black metal exploding into or boiling over into volcanoes of subtle brain-shaking noise, leading reluctantly into gloriously fist-pound-prone dark sludge metal riffs and ambient shoegaze, then repeating in various patterns of absolute hatred for all society's conventions. I don't believe in love or friends and spend my time in a white noise fog behind a closed door. To be perfectly honest, some sort of 'altered state-of-mind' may be necessary to see what makes this album so damn satisfying for me. I listen to it daily. A word on 'Reversing the Third Wave' 'Reversing the Third Wave' is a song I did because I felt that black metal had really lost it's way after the second wave. Bands like Burzum and Darkthrone had such a raw rebelliousness, a nihilistic abandon, and an inclination towards ambient sound experiment. Black metal bands today are too cut and dry, playing big beefy, chorusey symphonic or smooth ambient 'black metal' sounding as if they think black metal is a subgenre of death metaL. It's good music but black metal wasted it's potential by becoming so standardized, safe, and normal in the metal tradition. Black metal started out as a defiance against the stale empty-headedness of death metal, and today they go hand in hand like the crisp riffing of Dimmu Borgir. Don't get me wrong, I like death metal and modern black metal, but read any of Euronymous's diatribes against death metal and you'll see how far down black metal has drifted from it's unique roots into normalcy and mundaneity. I made this album to show that black metal can still bring back innovative noise and raw discord. I made this song in particular to remind people of the punkish aggression and misanthropy of Hellhammer. If you're looking for something closer to the earlier Keith Cohen sound, look forward to my upcoming album recorded by Steve Albini. It should be available any day now.